A Trash Story by Frank Hooligan: A Generation of People
This is my hum meine kleiner untermensch. The ploughshare in the bedroom. The ghost of Ozymandias. The old man holding his head going one way. The anarchist man holding his head going the other way. There is a long pause where he has forced her knees apart. They look at each other. We see the cow but it is not really there. Ballet Mecanique is being torn down from the screen. Vacillation the crowd cries. Tilda Swinton casting homosexual men in her afternoon stint. Roman-a-clef falling down the stairs. His cock twitching and growing. Elsa undid his fly and he pissed into her mouth. Feeding Moloch. Heaving bossoms of salvation. The Art Bearâs music plays in the page. Workers stripped of their dignity. Every Kenilworth lad meets a slag named Taylor. Man is a beautiful theory. The tongue is a stringless ghost replicating reality. A system of cameras being triggered by string. Bolts of synthetic cubism. The apparition of these faces in the crowd. Petals on a wet black bough. Ah, Henri Gaudier-Brzeska. Ciao Maria. We never see the men grooming. There is a silent wall. What we are watching is unaware. The reader is made self-conscious. Repition serves as a metaphor for the reproduction of society. Fractured identities. Drosophilia genes on paper. I wish she were here. Editing creates meaning. Opening shot. Camera on a rope slowing spinning shooting a man on bed. The second shot the bed empty. Where are we going.. there is no room for softness of mind. Time is a mode of perception. The Flapper Gurl. Little Tich and his big boots and his sad clown type of humor. I dream buckets of American vaudeville. Polysemy of meanings. Intertextual feedback loop. O willow I die ! The biggest asshole I shook hands with was someone named Culson. Stanley Kowalski. Gene Hackman tells a joke on screen. Dennis Hopper looms over the cultural zeitgeist. How can I engage with cinema ? Marx states: Work makes you free. Visionary porn that links sexuality to transcendence. Who are the real outlaws. Lady Gaga cancels. Class consciousness. Oh, Balla ! Oswald Orange states : Pay the London bitch â¦ throw your pound sterling to their tits ! The rights of the individual ! Make sure as not to marry one of those nasty pig ignorant white working class gurls who will use your toothbrush to clean the toilet rim and then quietly place it back in your holder. I know I came later but I need you just to think a little bit about me. Let me be in the little corner of your heart that you love and care sometimes. (Am, Ladyboy, Thailand, 2012)
Video made by Laptop Hooligans. Using original footage and art with manipulations of http://vimeo.com/35183851 which belong to Robert Lyons.
I printed out the meine Kliner . . . piece, and I've stared at it for the 3rd time, the latest right now, , trying to come up with ways to use this as raw material.
and I keep coming back to some sort of performance/interactive set up.
Step #1: record (maybe audio only, maybe video C.U. of Reader performers. At least 10, maybe 20.
Maybe pick a range of people types, skin, accents, ages . .
Each performer is recorded on a separate channel, each controllable by some sort of interactive means:
- a keyboard which the "musician" plays, each key is one of the recorded performers.
And, as if each voice were an extended note of music:
- software allows adjusting the components of each Reader's appearance, as if it were a note of music.
Each part of the envelope - the "attack", the sustain, and the "decay" is separately adjustable.
from the suddenness and quick decay of a plucked string, compared to the gentler attack and longer sustain of a bowed note.
The amount of glissando - the transition from one voice to another - would also be controllable.
Maybe "rules" of composition or game-playing could be invented so more than one "musician" joined in.
Maybe the readings of the video'd voices would appear on a screen, and their appearances controlled by, say, 8 perfomers, live, on stage,
eating ears of corn-on-the-cob (I know you call it maize, so do you call it maize-on-the-cob?). Every chomp each eater takes causes some sort
of change in whose voice and image is on screen. Or maybe it would be each chomp (or chew) of 2 performers at a sit-down dinner would be the controlling device.
Or, maybe some sort of motion sensors (maybe wii-type) in a gallery set-up.
Maybe it's an exterior installation, and sensors "count" the varying number and direction (etc.?) of people crossing an intersection,
and those parameters control the changes from one original Reader to the next, the results projected on some sort of screen that's integrated into the
design of the intersection.
Other than that, I'm not getting a sense that I'd ever be able to add to it with additional text.
But if I get any more so-called bright ideas, I'll send them along.
May 29, 2012 Subject:
Approaching minute 5 or 6, I didn't want it to be over!
Unless I read the credits, I wouldn't know the movie's a fusion of 2 different people's work, working in two very different ways. And yet, because I know, I can see the interplay between the two. So, for me, this version gains power and subtlety - all to the good. I really enjoyed watching it to see where you'd take me.